Aryanism in "Nausicaa of the Valley of the Wind" II

One of the more interesting ideas in the Nausicaa of the Valley of the Wind is that the film is actually about a return of Zion. The 7 Days of Fire were Zion's first, but ultimately vain, attempt to seize power - it was the unrestrained viciousness and wanton destruction that led the would-be conquerors to destroy themselves too. It wasn't even a Pyrrhic victory, but an entire reset of planet Earth - once before, life emerged from the seas onto cooled volcanic rock, but now the rock was cooling from a nuclear fire storm. There were survivors here and there and after a 1000 years of civilization in this limbo, society has once again grown into a complex phenomenon with both noble and evil elements.

Society in the Valley
The small city state in the Valley of the Wind has many Aryan aspects. Due to this being but one episode from this fictional universe, many of these are just implied.

First, the Valley is a limited space and we know that in this world resources too are very limited. Thus, to be able to survive, the inhabitants must have a defined codex of frugality and growth optimization. They can be seen living their lives with relative ease, not pre-occupied with these calculations and so the codex must have been around for quite sometime, perhaps a few generations.

Frugality
Ensuring no more resources are used than required to fulfill the purpose.

If in effect, this concept also affects the processes of creation, since if the optimal amount of resources are used, then that precise amount was initially created. Nausicaa's Mehve, with its propulsion and gliding capabilities, is this very idea as seen in one perticular device. However, to keep their population going, the inhabitants in the Valley have harnessed and applied this process all around, as can be seen in the windmills that provide much of their needed energy in the "Valley of the Wind."

Aryan Settlement

For the relatively small space that the Valley spans, there is a balance between nature and polis. Due to its size, it was probably not very hard to find and this balance and keep it up. The settlement in the Valley is what the mythical hero in the prophecy will bring to all of human civilization once he or she arrives. As we saw in the film, it was Nausicaa and it is no surprise that the one prophesized hailed from this Aryan Settlement.

Secondly, “growth” does not just mean crops and manufactured goods, but also population, which also must be optimized in this society. With limited resources and space, there is no way that the settlement would be able to survive with no regulations on procreation. This is a tricky aspect in that human procreation usually creates one child, sometimes twins, but there are instances of triplets and even larger nurseries from one woman. These get rarer as they increase in number, however, they cause notable differences. In theory, a twin nursery means an increase of 100% in resource consumption from that of a single child. Resources here would be food, space, and labor of care. In a tight situation as the Valley inhabitants are in, it would absolute disaster if population growth was without oversight. This is also a key aspect of authentic National Socialism. 

Other Societies
There are two other human settlements in the film: the Kingdom of Pejite and the Torumekian Empire.

Each has managed to raise a substantial armed forces with heavy ground vehicles and large aerial transports, in addition to smaller military aircraft. Their soldiers also have armor and sophisticated armaments. Basically, the arms industry in those city states is in full swing and they clearly use it for expansionist purposes.

Now, why would they want to expand? Well, with unregulated growth and production for the sake of keeping up with that growth, wanton expansion is inevitable to keep the city state sustainable. Regulation is also inevitable, but with the route that the Pejites and Torumekians are taking, they employ “sustainability,” which is defined in Aryanism as such:

Sustainability
Ensuring resources are not exploited so quickly that they will run out.

Sustainability is, in effect, violent compensation for too much violence. In Aryanism, “violence” is lack of consent, which may or may not be physical damage. Introducing new members into society for the sake of one’s own ego is violence against the rest of the population for they now have to give up resources. It is also violence against the newly born child since it has just been forcibly injected into a finite ecosystem. Thus, by employing sustainability, the Pejites and Torumekians expand into new territories to steal others’ resources that their own children stole from them when they were born. It is a ludicrous cycle of out of control violence that will inevitable result in blowback.

Pejite is a Gentile settlement that saw

the inevitable end of Gentile activity.

The Torumekian Empire is a slightly different case. The viciousness of Zion is reborn in Kushana, Princess of Torumekia, who seeks to rule over all and exterminate those defiant of her. After the 7 Days of Fire, the ideas of Zionism were able to hide and continue developing until Aryanism took hold in the form of Nausicaa. Kushana is probably not a Jew by blood due to this being 1000 years after the end of the previous human civilization, however she certainly is packed with the same ideas and approves the same methods. She is the ultimate example in in-group altruism in the film, and it is in her that we see a profound truth: Evil is not the Jews themselves, but their ideas and methods. That is the energy of Zion and some Jews throughout history have realized just how repulsive the cult that indoctrinated them is: Benjamin Freedman, Bobby Fischer and also Jack Bernstein are examples.

Interesting fact: Kushana’s name seems to be an allusion to the real Kushan Empire that eventually saw its decline due to many things, but its last traces were eliminated with the spread of Islam. In the film, Kushana’s further exploitations are prevented by the resurgence of Aryanism and the arrival of the mythical heroine.

The Toxic Jungle
The Toxic Jungle is what Kushana condemns with so much hate and no surprise that the Fukai (as it is called in the original manga text) is actually symbolic of what she despises in civilization. First, the Jungle can be seen as representing true freedom as it grows independently of external domination. Also, it is a representation of Aryanism as it selflessly seeks to purify the pollution that the humans' own decadence and hate had smeared all over the planet. It only appears as ugly, because people refuse to see it as anything else, yet it is the ohmu who take the final step and bring in the Golden Age. Kushana can’t see past simple racist barriers and would rather settle for this again:

The Golems of Zion

Today's World
While the film shows a post-apocalyptic world, it is also applicable to today's World, as it shows that in that distant future we are liable to repeat the same disastrous mistakes that led us there in the first place. However then, with such a fragile and small civilization, it will be our final bane. A key to overcoming this is to hit the Jew where it damages his forces most: his ideas and words, which involves countering the Jewish Business Model: “they just hate us for us.” They play the victim and the World believes them, yet they are the perpetrators of crime and decadence, something that the World does not see due to the distractions the decadence provides.

We also see disasters that are really just disasters of excess. A tsunami is not really a disaster, it’s a natural process. So are earthquakes. A parking lot of cars destroyed by a tsunami, now that’s a disaster. It would have been just a natural process if that excess of cars had not been there to begin with. However, in committing violence against nature, its natural processes turn into violence against us. This is perverse and needs to stop. Our own excess is our enemy and we don’t need 7 Days of Fire as proof.

One final sidenote: Nausicaa is also the name of a character in Homer's Odyssey. After Odysseus's ship is wrecked she helps nurse him back into well-being as he recounts the events leading up to the wreck. In this film, Nausicaa helps aid civilization back to nobility. In both instances, it allows for a key journey to continue.

See Also:
Equilibrium - another post-apocalyptic tale
My Neighbor Totoro - another work by Hayao Miyazaki

Part I

Aryanism in "Nausicaa of the Valley of the Wind" I

Some four years before he made My Neighbor Totoro, Hayao Miyazaki created another Aryan-themed work called, Nausicaa of the Valley of the Wind. He put a tremendous amount of energy into this piece, as it was a completely original story with no pop-culture tie-in, and Miyazaki even crafted a manga series with the characters first. This film is an adaptation of the first two volumes. While it sacrifices much of the written works' intricacies and scope, the film version is still a great piece of storytelling. 


Sometime in the Future...
...the World's is forever changed by an event that now, 1000 years after the fact, is remembered as "The 7 Days of Fire." During the opening credits sequence we get glimpses of what when on during those days, these are quick images in a montage that seem to be resemble the memory jog of someone pondering the event. We see huge golem like figures march and unleash wanton destruction upon everything in sight. Eventually, after the chaos settles down, Earth is forever transformed with human settlements few and far apart from one another with a "Toxic Jungle" inhabited by giant insects covering the rest of the planet. Those regions are lethal for humans and can only be entered with special masks. Contact with the insects is almost completely avoided as any sort of combat results in unstoppable swarms.

The opening credits may have very well been the thoughts of one Lord Yupa, a figure similar to Gandalf in Lord of the Rings, who sees a village that has succumbed to toxicity in the very first scene. He picks up a doll whose head crumbles to dust; the doll was a child's toy and this suggests the death of Original Nobility. Has life been so violently beaten and transformed that it has lost all of its previous Nobility? The World's forest before the apocalyptic events provided Earth with oxygen, but now the jungles are toxic. This is a strong indicator of such major aberrations that they might as well be considered absolute and fundamental change. However, as we soon find out, it is a lack of hope that is the most demoralizing of illusions.

Enter a Heroine
Nausicaa is a princess in one of the few human settlements, each of these is more of a city state with government and economy, however, the Valley of the Wind is an exceptionally humble place  when compared with the others. We first see Nausicaa exploring the Toxic Jungle and finding an ohmu's (one of the huge species of insect) shell that has been shed. Knowing that this will be a valuable resource she decides to take a piece of the shell back, when she senses someone's distress. Off in the distance, someone is being chased by an ohmu and Nausicaa immediately goes to their rescue and non-violently stops the ohmu from chasing the person who is actually Lord Yupa from the opening scene.

The angry ohmu

This is a great introductory scene for the film's main heroine; she is not the stereotypical lazy aristocrat, but one committed to Aryan struggle - exploring the World and not hesitating to help someone. Note that the ohmu in this scene is blind with rage as it's home must have been disturbed accidentally by the passing Lord Yupa, but Nausicaa stuns the beast briefly with flashbangs and then soothes its anger and the bug's eyes go from bright red to a calmer blue and it makes its way back into the jungle. This scene is a total inversion from macho Lone Wolf heroics in which a muscled brute of a male takes one some beast or wrestles it away in a show of strength - here we not only have a woman but also non-violence resolving the issue; all suggesting quality of tactics and persona as opposed to quantity of strength and pure physical endurance. These themes will carry on for the rest of the film.

Also is worth noting that Lord Yupa, who has traveled far and wide in this world, still doesn't know just how Nausicaa was able to calm the ohmu. Lord Yupa unleashed the rage of the ohmu when he fired upon an insect in effort to rescue a small mammalian critter, a fox-squirrel. Yupa gives the animal to Nausicaa who is also able to calm it with some unseen force, it seems to be just her gentleness. Apparently, Nausicaa has a connection with all living things.

Enter Hope
Lord Yupa says that he is on his way to the Valley of the Wind and Nausicaa rides ahead on her glider. Interesting that her glider looks like a white wingspan and is called "Mehve" which immediately made me think of the Polish word for seagull, "mewa." As it turns out, the German word here would be "Möwe" and in the original manga written by Miyazaki, it is that word which is used for name of Nausicaa's glider. The glider is a symbol of a harmonious existence of nature and technology, of humans and animals, as well as being a fine piece of engineering - it can propel itself if need be, but usually glides so as not to waste energy.

Nausicaa flying over the Valley

Soon after Nausicaa's return, Lord Yupa rides into a valley with many windmills and green fields. Children happily rush out to greet Lord Yupa and the whole scene bears a strong resemblance to Gandalf's entrance into the Shire at the beginning of Fellowship of the Ring, both the scene and the scenery are parallels with similar themes being communicated, albeit transposed from the rolling hills that are typical of the English countryside to mountainous landscapes of Japan. This is the Valley of the Wind.

The Valley is one of few places not yet consumed by the ever spreading Toxic Jungle, which is also degenerating human civilization as its pores cause, among others, premature aging. It seems that the Jungle's take over is inevitable.

Here we are introduced to Obaba, a wise woman who recounts a prophecy of a mythical hero's arrival; "Clad in blue and surrounded by fields of gold to restore mankind's connection with the Earth that was destroyed. He will guide the people at last to a land of purity." The Aryan symbolism here is unmistakable. A more subtle, but also effective, way that the film communicates Aryanism, and even alludes to the Aryan race, is the fact that the characters have a rather general and undefined complexion overall. Some look Asian, but many have beards that make appear like Old Germans or Slavs. Added is that there are no mentions of real world geography, we can only assume that the film takes place on Earth, but it may as well be in the same sort of realm as Lord of the Rings - a realm of universalist applicability that has been intentionally created separate from our current world so as not to be burdened by any of its constraints.

The Struggle
That night, Nausicaa, with her heightened sense of the world, detects that something is not right. Sure enough, she's right, a large crippled ship is on a crash course with the Valley. Jumping in the Mehve, she approaches the ailing vessels and attempts to warn them not to crash into the people below. We see that the ship is being attacked by insects and is soon brought down resulting in a fireball and the toxic pores of the Jungle and insect life now threaten the Valley's agriculture. Nausicaa finds a survivor amidst the wreckage, this is a princess from another settlement, Pejite, who soon dies. This will lead to complications later. This scene also shows Nausicaa's Aryan qualities as the masses are highly impulsive and in panic about the insects, and even more so when a bigger one emerges from the downed vessel's hull. The people panic and aim to tear it up with gunfire, but Nausicaa intervenes and encourages it to leave with her unique communicability. The insect flies away with Nausicaa escorting it to the edge of the Jungle where and ohmu waits for its kin. The ohmu seems baffled as to why a human, an enemy species, did not unleash the usual rage and violence, but proceeds peacefully back into its home domain.

The next day, more ships arrive at the Valley. They land and unload soldiers who begin to secure the area, including the ailing King's quarters. Nausicaa returns from a flight when the apparent invasion is underway and rushes to her father's room only to find him surrounded by the soldiers and dead. This scene is Nausicaa's only fit of rage as she engages the soldiers with a fury, but is soon stopped by Lord Yupa. This stopped what would have been a spiral of cataclysmic violence.

The newly arrived army is from yet another state, Torumekia, and the Torumekian Princess Kushana explains that they are here to help reclaim Earth for humanity for the transport that crashed last night was carrying a developing "god-soldier" - one of the golem-like beings seen in the intro, one of the beings that caused the 7 Days of Fire 1000 years ago. However, Kushana is convinced that the golem may be used to destroy the Toxic Jungle so that the remaining humans on Earth can live without constant alarm of the pores or of the insects. Kushana decides that the best place for the golem to finish developing will be right in the Valley. She decides to take Nausicaa and some of her confidantes hostage so as to ensure the good behavior of the Valley's inhabitants.

Before they leave, Nausicaa reveals to Yupa that she had been secretly growing a garden in the basement of her building, but one with non-toxic soil. The resulting plants did not give off the lethal spores and she hoped to find a cure for the ailments humans inevitably face due to the pervading toxicity. The reverting of the garden to natural states also suggest a reversion to Original Nobility.

To the Brink of Annihilation
When they leave the Valley to head towards Torumekia, a single fighter craft attacks the Torumekian ships destroying several. Nausicaa climbs out onto roof of her own ship and her presence seems to dissuade the pilot from attacking the ship, but in his moment of hesitation his own craft is hit and goes down. Nausicaa then gets everyone off of the ship, including Kushana, and they glide down to the surface, but wind up in a swamp. Kushana does not value any act of kindness and is only driven by selfishness (she was even baffled, like the ohmu from before, when Nausicaa allowed her to escape with them from the crashing ship) draws a gun and states "I give the orders around here!" She lets her impulses get the best of her. The insects in the jungle sense anger and immediately rise up from the swamp, but Nausicaa with her communicability manages to calm them.

The insects seem to communicate with Nausicaa by some sort of glowing yellow tentacles and Nausicaa has a vision of golden field for a few moments. It's a peaceful vision. Another contrast, slightly more subtle than violent outbursts, is that Kushana regularly insults her subordinates and they her behind her back. It's another aspect of their volatility.

The previous scene also demonstrated that the air above the clouds of the jungle is clean and breathable. This is a first major indicator that there are certain things yet to be explained about the dynamics of the Toxic Jungle. Not surprisingly, it is closest to the source of the Swastika symbol that the pollution is not present.

After the ohmu leave Nausicaa goes to see if the pilot from the down fighter is still alive. Sure enough, he is and fighting with the insects, which in turn causes them to rage. This is the gentile way that inevitably leads to a spiral of violence. It is not unreasonable to believe that it was such thinking and such a course of action that lead to the 7 Days of Fire. The golems were created to wipe out all the enemies of a nation or of an alliance, but unleashed a worldwide inferno.

Nausicaa saves the pilot with her glider, but they are then pulled down into quicksand and Nausicaa has another vision. Back in her childhood, in a golden field, she had come across a baby ohmu, which was soon killed by adults. The young Nausicaa saw no reason for the violence and this is yet another suggestion that the ohmu are not what people think they are. In fact, as it turns out, peoples entire perception of the Toxic Jungle is wrong. Nausicaa and Asbel, the fighter pilot and Prince of Pejite, have been pulled down under the jungle, but are now in a clean environment. The jungle is toxic, because it is cleaning all the pollution that people had caused during the 7 Day of Fire. The insects are so protective of the jungle, because they are guarding this secret and keeping a violent species, humans, away from it. In effect, the jungle is reverting the Earth back to Original Nobility - it's a natural process if allowed to go uninterrpted - and thus, Nausicaa's attempt to control this process back home wasn't necessary. Though, she was doing it with good intention. However, Nobility cannot be "created."

In this scene, Nausicaa tells Asbel that his people are just like the Torumekians and he reacts in rage, which is a typical gentile reaction that prevents the transcending of tribal boundries. Back in the Valley, Lord Yupa discovers the Torumekian plans to unleash the golem and leaves to find Nausicaa. The villagers start an uprising then - the spiral of violence is beginning to spin. Nausicaa and Asbel reach Pejite, but it has been destroyed by the ohmu, but because they soon find out from some surviving Pejites that it was the Torumekians who lured the insects there. A deviously clever exploitation. The ohmu, when their eyes glow red, are said to be able to fight until they starve, they literally wear themselves out with their own treachery. People, it seems, are on the same track for the Pejites get the brilliant idea of now luring the insects to the Valley to conveniently wipe out all the Valley people and the rest of the Torumekians, then they will take the golem and destroy the Toxic Jungle, which they refuse to see as anything other than wretched despite Nausicaa's and Asbel's pleas. Asbel is knocked unconscious by his fellow soldiers, while Nausicaa in imprisoned on their transport. People are really on the same track as they were one millennium ago, it seems. They just want to make treachery work for them and only for them.

The leaders man be corrupt and blind with hate like the ohmu, but some of the people are not. A few noble Pejite civilians help Nausicaa sneak out so that she can find the lure being used on the ohmu swarm. While everyone prepares for some of the biggest combat to come yet, Nausicaa finds the lure, with her keeness that allowed her to spot Lord Yupa in the very beginning when he was running from the ohmu. She ends up wounded, like the baby ohmu being used for the lure as it had hooks in its body so that it could be transported. She uses her communicability to talk to it and the prisoner ohmu sees that Nausicaa is not an enemy. It heals her using its tentacle-like antennae. Then, in her last attempt to stop the ohmu horde from killing the rest of the Earth's human's Nausicaa orders the stunned Pejite soldiers to transport her in front of the charging ohmu.

The way of the Aryan

The way of the Jew

Meanwhile, Kushana unleashes the unfinished golem and it manages to fire off some terrifying laser blasts before completely falling apart. Her dreams of cataclysmic victory instantly shatter and crumble to hopelessness. The charging ohmu cannot be stopped by anything at her disposal now.

Nausicaa is set down right before the ohmu charge and it plows right into her, sending her high up into the air and back down into the midst of charging insect feet and kicked up dust.

For a few terrifying moments everyone prepares for mutually assured destruction, but then, inexplicably, the ohmu then stop... from high up in the air we see the raging red glowing of the swarm's eyes starts to turn into a calm blue from one spot that soon spreads throughout the entire giant multitude of ohmu. They lift Nausicaa on their glowing yellow antennae, whose clothes are now blue (from the blood of the wounded ohmu) and she appears to be walking in a golden field - Nausicaa is the mythical hero that found the link between humanity and nature so as to herald in a new Golden Age. She is the embodiment of the symbolism of the Swastika.

Arya Returns

Part II

Perceiving Aryanism and National Socialism

I can imagine that one day long ago when a system of mathematics, that eventually became one of Persia's greatest achievements in the form of algebra, started to play a key role in various transactions and this made certain sneaky merchants angry as it is harder to lie with numbers than it is with simple sleight of hand. Perhaps many of these dishonest merchants saw the logic of mathematics as "evil" since their schemes were now easily disprovable.

An analogous situation occurred in Germany when Adolf Hitler rose to power and very quickly started to push out all the Jewish schemes from the economy. Hence, National Socialism has been branded as "evil," since it caused trade, culture and society in Germany to be truly of the people and by the people thanks to its revolutionary new system. Those who did not wish to participate in, as well as those who sought to subvert, the new order were detained and set on course to be re-educated in camps. Hitler knew the dangers of subversion as it was such actions that caused the German defeat in the First World War... a war during which not one shell impacted German home territory. Marxist organized strikes, engineered class conflict, crafted hate of the intelligentsia and ethnic groups in addition to other subversions caused rampant chaos in Germany and in the newly created eastern nations of Czechoslovakia and Poland - strife in the Sudetenland and uprisings in Silesia as people felt displaced or left out from where they wished to be. No doubt that the sloppy Treaty of Versailles was meant to cause all of this. If it wasn't proven before, it was proven now - the masses are asses.

Enter Adolf Hitler. He had been carefully watching events unfold since his first sojourn as a student in Vienna - the futility of the parliamentary system, the dishonesty of the Press, the decaying of culture all at the hands of puppeteers who relished in chaos amongst the Goyim for it allowed them to implement their own selfish solutions and appear to be like geniuses and saviors - a perfectly fitting solution for the Jewish ego.

He saw what needed to be done

Out of chaos cannot come an order, but rather an order must be made from the chaos, for the chaos was Germany herself. Hitler wasn't seeking to advance the country, but first revert it back to a stage from which it can successfully advance - he believed in the Original Nobility of the Germans.

However, he also displayed a belief in the Nobility of other nations, namely the Slavs, who at the time were a great nuisance to Germany. Russia was overrun by Judeo-Marxists, the Czechs and Poles were aggressive about their new borders and the regions from Pomerania down to the Sudetenland saw ethnic strife, but most critically, the Soviets had already launched a war, barely after the conclusion of the giant preceding one. The Bolshevik onslaught was pushed back by the Poles after going as far as the outskirts of Warsaw. From this the Poles saw the USSR as their enemy, but also, in one of their greatest blunders, didn't see their German ally who had put forth conditions for the co-existence of Poland (as well as the Czechoslovak state) next to Germany as a joint buffer against Judeo-Bolshevik terror. The wise Hitler recognized his nation's real enemy and the enemy of all nations of men: it was the Jew who out of the chaos of the Great War was still busy creating more and more chaos on all fronts - social, geopolitical, economic.

The sleight of hand of the ancient dishonest merchant had grown to horrific proportions. The ancient herder's manipulative tactics had adapted into an intimidating and complex force.

Adolf Hitler didn't back down in cowardice of it all, he wasn't baffled into fear by the sheer scope of it, he wasn't selfish and thus didn't keep the solution to himself for his own gain.

THE ANSWER

"I have no hesitation in saying that in those men who seek to-day to embroil the patriotic movement in religious quarrels I see worse enemies of my country than the international communists are." ~Adolf Hitler

It applies to every country and international relations.

Revert the mess of society back to this:

Thus, making it possible to progress forward to this:

The key perception that we must see is that National Socialism is as German as Algebra is Persian or Geometry is Greek. Each has its source and will forever be known as hailing from there, but the applicability of each is so universal that it should be absolute standard. Algebra and Geometry are standards, however, National Socialism is not. Algebra's application, though, has been corrupted by the Jew who is at the ridiculous point of pulling numbers out of thin air, or simply typing them into a digital interface, so as to push forward his false transactions - it's the same old lying merchant and manipulative herder at work.

The result:

Confinement

Aryanist solution and continuation of Hitler's Kampf:

FREEDOM

Original Nobility in "My Neighbor Totoro"

Most of the Aryan themed works that I have examined here tended to focus on the militarist aspects of Aryanism. High adventure makes for exciting storytelling, however the extent of Aryanism is much farther and more diverse. A key aspect that I have not yet covered would be the concept of Original Nobility, which is defined as such:

Original Nobility
Belief that nobility is the initial condition of all sentience, lost over time in the world. Implies Arya as process of reversion rather than process of advance. Implies high opinion towards children and their perspectives.

The 1988 animated film My Neighbor Totoro shows this idea very well as two young sisters move into a countryside home with their father after their mother is hospitalized. The woods surrounding the home have some very interesting beings living in them and these particular entities can only be seen by children.

The film starts with Mei and Satsuki, along with their father who is driving, on the road in the countryside to a new home. This immediately ties into Aryanism as they are making their to what is clearly a farming community and they have come from a big city, which ends up making only one, very brief, appearance in the film. The young girls are filled with a genuine children's enthusiasm as they wave and greet the people they pass. When they reach the house, the girls' gusto doesn't pause for a second as they explore each and every corner.

Discovering The Past
Things start to get interesting when they open the house bath. As the door opens and daylight streams in, a black mass of what initially appears to be vermin, scatters away into cracks in the wall and back to darkness. The girls are slightly hesitant about entering, but this feeling clears quickly and they begin to look for signs of the little creatures they had just seen. This is a key moment, as I have a feeling that most grown people (as I did) would react with disgust towards what they saw in the bath. It would be taken as a "bug problem" and an exterminator would be called to look the house over. This spawning of disgust is absent from girls' dispositions towards this unexpected sight. When they go to open the windows upstairs, Mei goes so far as to try and capture one of the scurrying black puffs before it makes it into a crack in the wall. She succeeds and this scene has yet another important bit: the little dark puff is shown to have eyes and a reaction of fear as it sees that it is unable to make it with the rest of its crowd. By now it is certain that whatever these little creatures are, they are not "vermin."

Downstairs, the girls meet "Granny" - no relation to their family, but the elderly lady will serve as their caretaker and says that Mei and Satsuki can call her "Granny." This initial extension of warmness to people one has just met reflects the gestures of the girls as they waved to people in the countryside during their ride over. Granny also knows about the "soot gremlins" and explains that they live in uninhabited houses, but may peacefully move out if the new residents prove to be good people. She also says that only children can see these soot gremlins, and that she used to be able to see them when she was a child. In the woods near the house, there is a very large camphorwood which seems to have magical qualities. When Mei and Satsuki appear to be used to their new home, the soot gremlins drift in the wind and end up at the tree.

One gets the impression that these opening scenes focus very much on Mei and Satsuki. So much so that some viewers may be wondering where the "plot" is. Plot usually centers around a conflict or a problem, yet here, the most dramatic story element - a mother ailing in the hospital - is only in the background. The film is decidedly much more about discovering and exploring (especially the past, which ties in with Arya being a reversion) rather than dealing with problem or conflict. Nobility, as defined by Aryanism, is very much about preventing conflict and, more importantly, preventing the seeds that will lead to such confrontations from ever even sprouting. Thus, with their Original Nobility still strong, Mei and Satsuki don't see and or even feel need for conflict in this story. In fact, they approach all of life with a great enthusiasm - both help Granny clean the house, there is even a great comedic shot of Satsuki dashing back and forth, in and out of frame, as she sponges the floor; Satsuki also makes lunch for everyone in the morning and is mindful about being in school on time; the younger Mei stays home and explores the woods; while father works, either at home or at a university in the city.

One morning Mei sees a peculiar creature in the garden and happily chases after it. Much like her and Satsuki's reaction the soot sprites, she isn't afraid or distrusting of it, there is no negative reaction on her part and there is no need for one in her young state.

Mei chasing the sprites

Mei chases the little creatures down a hidden tunnel in the brush and to the base of a large tree, the giant camphorwood seen before. The shot when the sprites rush into a crack in the tree bears a strong visual resemblance to the black puffs scurrying into cracks in the house walls suggesting that Mei is now seeing a more clear (and more complex) version of the entities. This is then taken to the next level when she falls down the hole, after looking down it, and sees an even bigger version! This new creature virtually identical in composition to the others just much bigger. Mei names him "Totoro" - this is said to be a mispronunciation of the Japanese word for "troll" - however, given the theme of Original Nobility, there is another consideration for us to make. This is that it's the word "troll" that is actually inaccurate, while Mei, with her unspoiled perspective, sees the magic beast more clearly and honestly than any modern language can.

Later, she tries to lead Father and Satsuki to Totoro, but now the hidden tunnel doesn't seem to lead where it did before. The way has been lost for an unexplained reason... this apparently turns into a non-issue when they find the tree, but the hole in it is gone, much to Mei's disappointment. Satsuki even laughs a little at Mei for being childish at this point. Father tries to calm her and says the "the keepers of the forest" are only seen when they want to be seen. This is, in a sense, accurate as the sprites Mei initially chased turned invisible in effort to hide, but even this didn't allow them to escape the keenness of a child. Father's explanation of "the keepers of the forest" is also interesting. He is an adult and long passed from his state of original nobility, but he still retains some memory of it, however it is only the young Mei who sees the spiritual energies of the tree in the clearest way. Satsuki is older and, at this point, has yet to see the sprites and Totoro.

She does in the next key scene as the girls wait for Father at a bus stop. Note that they decided to wait out here due to the rain and they brought an umbrella for him - a nice bit of selflessness. Father seems to be late as he is not on the first bus to come by. It is getting dark and late and Mei falls asleep on Satsuki's back. It is then that Totoro appears. This is an interesting scene visually, as it is rainy and dark and the girls stand under one street light, effectively a small bright bubble in near total darkness, when Totoro makes his appearance by stepping into the lit part of the country road. The brightness is representative of Original Nobility as it can be seen in today's world: a small field of light that will soon disappear, but from which profound insights can be spawned - the only true bit of Arya in today's callous World. In this small field of light, the girls receive a small gift from Totoro - a little bag - before he rides away on a cat-shaped bus!

Re-Growth of Idealism
The bag contains little golden kernels, which the girls had seen laying around the garden before. The first sprites that Mei chased also had these in a little bag. They plant these seeds, which at first don't grow. Father explains to them that it takes time, but the girls are not content. One night they see Totoro and the sprites dancing by where they planted the seeds, so they go out to them and get taken for a wild flying ride and back to the garden where the seeds grow into a group of trees including what appears to be another huge camphorwood. This ends up being only a dream, as the next morning the new trees are gone, however, there are young sprouts in the garden and it is suggested that the trees will eventually grow. Seed symbolism is very relevant to Aryanism and the golden seeds indicate the mythical golden age - gold has no monetary or materialist connotations to Aryans, but rather symbolizes fields of fertile crops basking in sunlight - in other words, under the Swastika. On a side note: a degraded version of this notion appears in the national anthem of the USA as "amber waves of grain" - amber is a precious stone and a symbol of vanity, thus connecting fertile crops to the idea of an exploitable resource. Aryanism is not confined to such base calculations.

Idealism takes Flight

Up to this point in the film, idealism was seen mainly on a symbolic and metaphorical level - sprites, Totoro, magic trees. However, with the sprouting of the kernels in the garden we begin to see that this idealism starts to crossover into girls' real world. The inciting incident here is actually some bad news: Mother cannot make a scheduled weekend visit due to some complications in her treatment. This upsets Mei very much, while the older Satsuki tries to deal with the problem in a "mature" way. She even yells at Mei, "Grow up!" She seems to be abandoning ideals for empirical methods. On the other hand, Mei, though distressed she may be, decides to go on her own to the hospital with some of Granny's garden vegetables in order to cure her mother. This is interesting as it carries on the seed symbolism as plants are essentially mature seeds and vegetables are cultivated plants; Aryan symbolism once again.

The aforementioned one appearance of the city is right before this sequence when Father learns that Mother will not becoming home for the weekend; he is in his university office at the time and hence, the big city is linked to depressing news, while the countryside is linked to idealism in the film. The hospital where Mother is staying is not quite in the big city, but also clearly not fully in the countryside, it's in a small town, an intermediary region. Interestingly, in an earlier scene when Father and the girls went to visit Mother, a picture on the wall of a tree can be seen. This suggests that, like Father, she is still aware on some level of "the keepers of the forest" - she cannot see them as Mei and Satsuki can, but her Original Nobility is not fully lost.

While searching for Mei, Satsuki gets really distressed, but doesn't give up; she literally runs and runs and runs, looking here there and everywhere she can. This drive of hers was seen earlier when they were cleaning the house and when she made lunch for everybody - she has a strong commitment to helping others - a sense of duty to family and community. After much searching her feet are dirty and this mirrors the scene where Mei had dirty hands after catching the soot sprite. Not surprisingly, in the very next scene Satsuki goes to the camphorwood and down the hole where she falls and lands on Totoro. Here the Cat-Bus is summoned and takes Satsuki to Mei and then takes them to see Mother at the hospital. They look, from a distance, through the window and see Father and Mother talking and learn that Mother was only kept in the ward due to a cold and will visit next weekend. The picture of the tree can be seen once again in this scene.

Idealists making Noise

The Cat-Bus is an interesting character. Not only can it be seen by children, but also by animals, suggesting that mankind's materialistic existence, to which animals are not as confined to, has blocked it from seeing true ideals. The Cat-Bus's travel routes are also completely unconfined to roads and it makes its way through the countryside any which way it can; it can cut across and over predetermined and conventional boundaries to achieve its goal - something Aryanism must do to succeed.

The term "Aryan" is inexorably linked to the concept of "Aryan race" about which there are enormous misunderstandings, most of these are deliberately calculated and propagated by Zionists. The fact is that Aryans define their racial idealism as such:

Racial Idealism
Sense of belonging with a race according to relation to an abstract ideal that cuts across conventional categories.

Conventional categories being skin color, ethnicity, religion, etc...

It is with this symbolic idealism that Satsuki finds Mei. It also allows the girls to leave an ear of corn, one from Granny's garden, on the hospital window sill where it is seen by the parents. Once again, the line between idealism and current reality is blurred with the two fields moving still closer together.

Other Matters
There is another child character in the film, Kanta, who doesn't seem to notice Totoro and the other magical beings. This seems odd as he lives in the countryside, away from the pressures of the megalopolis Tokyo. However, this once again suggests cutting across conventional lines: a person doesn't see or not see Totoro based on where they're from, but from the sense of nobility they possess. Kanta doesn't seem to have it, he doesn't treat his work very seriously and he thinks that the house that Mei and Satsuki explore with such enthusiasm is actually "haunted." Thus, Kanta is a Gentile and for all intents and purposes has been brainwashed beyond reversion. The closest thing he does to a truly good deed is offer his umbrella to Satsuki and Mei in one scene, but then immediately he nervously runs off. Just like he is scared of the house, he is scared of the people around him who possess noble traits. Many real World Gentiles are like this as they succumb to defensive tribalism.

Conclusion
Given what comes out of Hollywood these days, this is a very unique film. It is originally from Japan, but it did get a US release in 2005 with popular American actors supplying voice talent, however, it did not have a major theatrical run. Thus, as with virtually all other works that have similar themes, it was lost amidst the babble only to be seen and understood and appreciated by a few.

Luther: Questions and Struggle for Truth

Revolutionaries challenge established powers. This starts by asking a few, often simple, questions and then proceeds, if it indeed it reaches that key stage, into a struggle that redefines the limits of the revolutionaries' will power. Success will make them remembered by following generations, however it is their struggle that will make them great. For without it, there would be nothing.

Martin Luther is one of history's most famous revolutionaries. His daring to ask certain unorthodox questions led to the Protestant Reformation, which, in turn, led to the Roman Catholic Counter-Reformation, and both redefined the Christian faith and its followers.

The 2003 film Luther is a dramatization of the German's life. It remains reasonably faithful to his life story, the key part of it that it covers, but it also makes some key omissions and in the end reduces Luther's message to a contemporary humanist level.

Film Summary
There is a clever device right in the film's opening credits: the film's title first appears as Luther's signature - it is literally "written" onto the screen - before the conventional printed title appears. A signature is supposed to connote authenticity. As if it is Martin Luther himself telling the story.

We then see a young man scared for his life in the middle of field as a furious thunderstorm is raging. The young man says that he will give his life to serving God if only his life be spared. This is Martin Luther. He keeps promise and begins to study theology and soon joins the priesthood. During his first mass, young Luther seems taken in by light streaming through the stained glass window above - is it wonder? awe? - and it causes him to fumble his first mass, much to his father's dissatisfaction. Luther's father even doubts his son's motivations for becoming a priest, but the young priest only relents.

He enters into an abbey and soon finds himself on his first pilgrimage to Rome. It is right there, in the center of Christendom, that he sees what will set the course for the rest of his life. In the church, before when he fumbled the mass, Luther saw a glimpse of his ideal - a direct connection to God, a personal connection that one faithful person can experience and learn from; now in Rome, Luther sees what he feels that the faithful need to move away from - these are the infamous “indulgences” and the market that deals with them. Much to Luther’s surprise, it is possible, according to Roman Law, to buy one’s way into Heaven. Or to shorten your dead relatives’ time in Purgatory, or even release them early. As Johann Tetzel, salesman of indulgences, puts it: "Coin in the coffer rings, a soul from Purgatory springs" thereby effectively reducing the idea of spiritual salvation down to an advertising slogan. Luther quickly sees the absurdity, hypocrisy and downright ignobility in the selling of indulgences. He even says that the indulgence certificate received upon purchase is “just paper.”

Interestingly, when Tetzel is first shown holding one of these certificates (or “guarantees” or whatnot), he shot is framed so that it is seen through fire - a not so subtle connection to the fear-mongering hellfire speech that he had just given in that scene in order to scare peasants into buying his indulgences.

Throughout the film, Luther is framed with sunlight in key scenes. This can be first seen when he is scrubbing the floors of his abbey, making them very sparkly and clean and his mentor even jokes that he is working himself to hard. This scene comes after Luther’s first trip to Rome and he was angry with all the hypocrisy that he saw, which included monks buying sex and a glimpse of Papal pomp. In the scrubbing scene, after his mentor’s bit of humor, Luther hoists himself up from the floor and then while still kneeling he is framed to match a tall sun lit window in the back and the floor he scrubbed shines bright. It is a brief scene, but a very telling one in that it gets to the essence of Luther’s struggle: it is the effort that counts, not the money. Luther sought to teach that Christians can make themselves free from sin by emulating Christ, through the effort of faith and the rejection of materialism like indulgences and idol worship.

After he makes his ideas officially public with the famous 95 Theses, Luther is slapped with excommunication and a bounty is put on his head, but one of his friends from a high place gives him sanctuary. Luther then goes on to translate the New Testament from Latin into his vernacular German. This great effort would go on to help standardize the German language as well as add refinements to the science of translation.

Luther starts a populist wave, of sorts, with his bringing of Scripture into the vernacular. Much to his dismay this brings its share of violence and madness, but in the end, his teachings catch on and garner intelligent followers. The film, especially, by the end, becomes a rather romanticized and idealized version of Luther’s story, but how can three tense decades be compressed into two hours without such storytelling devices? They really cannot.

The film ends in 1530 right after the Diet of Augsburg when a now happily married Luther learns that Roman Law no longer looms over Germany.

Almost Aryanism
The overall portrait of Martin Luther as seen in this film can be described as humanist. He is shown as a warm-hearted man who is disgusted with Vatican hypocrisy and sets out to counter it. There is a theme of "freedom" in the contemporary liberal sense of "giving it to the people" as Luther seeks to make the Bible available to commoners. That's not an ignoble goal, but critically short of Aryanism. The overarching notion here is similar to the end of the Lord of the Rings film adaptation, which has that critical deviation from the source novel, and that is: someone capable will bring good to the world, all you have to do is "have faith." This theme can also be seen in comic books as superheroes fight super-villains, while ordinary people look on in terror and awe knowing that they could never rise up to such feats. It's a rather prevalent form of mass pacification.

The intensity of Luther's struggle is also toned down. During the months when he was translating the Bible into German, Luther suffered from various ailments that caused him great pain - these are only mentioned in passing in the film and the character on screen looks more like a book worm or nerd as he notices a subtlety in the translation process - something most others would find trivial - while sitting on the floor in a room with papers strewn all over. That must have been part of the struggle, however, the key part was Luther's spiritual battle. The will to overcome a grand corrupt scheme, one that has propaganda and blindly loyal enforcers nearly everywhere. There are some scenes of this inner battle, most notably right before the Edict of Worms is passed, but it is a shame that this wasn't made into one of the film's key themes or had a series of scenes throughout the film and each one would progress. It was with such sleepless nights and brainstorms that must have brought Luther's revolutionary ideas into action. Being driven as such as he was could have only meant a treacherously rough ride.

The limited budget excuse doesn't cut it here. It was a theme that should have been developed from the very beginning of the film project, screenplay statge, and then wound up as a key aspect of the whole story. However, this watering down isn't nearly as deceptive as another aspect of the film. This particular part wasn't censored in anyway, it was just completely avoided.

Key Omissions
Anyone who knows the general story of Martin Luther right down to his biographers knows this: Luther hated Jews. The preceding three words are the biggest possible simplification that one can make on this controversial aspect about the founder of the Lutheran faith, but those words remain true. By delving deeper into this subject we can plainly see why it was avoided.

Firstly, there is the simplest reason: this aspect of Luther came at the end of his life. The film ends in 1530, while Luther's writings about Jews are from after 1537, the last nine years of his life. Thus, this was not included in the film as the core of what Luther had brought into the World had already been discussed.

That would be an acceptable reason, however take a look at the film's closing text:

"What happened at Augsburg pushed open the door of religious freedom. Martin Luther lived for another 16 years, preaching and teaching the Word. He and Katharina von Bora enjoyed a happy marriage and six children. Luther's influence extended into economics, politics, education and music, and his translation of the Bible became a foundation stone of the German language. Today over 540 million people worship in churches inspired by his Reformation."

It seems that the filmmakers just wanted to show a good-hearted humanist hero, one with heart of gold, as they saying goes. This could be for market value, but seeing that this was an independently produced film, in Europe (thus, no Hollywood), they were not too concerned with the profits of a potential huge hit. They made the film exactly as they intended: a humanist hero. Notice that this is also a common way to show Christ, Gandhi and other spiritual teachers. Yet, what do the two aforementioned spiritual leaders have in common with not just each other, but also with Martin Luther: they held a negative view of the Jews. All their writings and teaching have passed through the ZioSieve, so don't expect to read about any of this from any politically correct sources. PC is just a tentacle of ZC.

Secondly, with this in mind, let's return to the quote above. Now with an Aryanist understanding, "religious freedom" and "preaching and teaching the Word" means pointing out the vicious and hypocritical nature of Judaism as that is precisely what Luther did in those last years! It is not the information that ZC tries to hide, but a certain and vital understanding of it. Facts can be twisted and even made up, while a profound insight is practically untouchable.

There was another movie from 2003 called Hitler: The Rise of Evil (yes that's the actual title), which had similar manipulations of its historical main character. In a film about Hitler it is impossible not to mention Jews, even the 2004 film Der Untergang has a forcefully tacked on title card at the end with the "6 million figure" though it makes no references to Jewry otherwise. Due to this impossibilty of convenient omission, they mention Jews in a way that agrees with mainstream myth. The opening scenes show Hitler still as a child and we can see that his mother occasionally spouts something unpleasant about the Jews. This attempt at "honest" portrayal and the delving into the psyche of Hitler seems to suggest that hate is picked up from a poor upbringing. That Hitler was just a product of a World hateful to the Jews. This is pure folly.

In Mein Kampf - Hitler's own words - the first mention of Jews in on the bottom of page 42. I am referring to the downloadable PDF document on Aryanism's Main Site. This puts Hitler's first mention of Jews well into the second chapter in which he describes his life and work in Vienna. The first chapter is about his family and clearly from Der Fuhrer's own words he did not learn to hate the Jews from being exposed to bigotry at a young age. It wasn't racist propaganda that was engrained in his mind and then exploded in rage when he was an adult. That is what the Jew would like the Goy to think.

The fact is that Adolf Hitler and Martin Luther both started to despise the Jew from observation of their World and what Jewry does to it. Jews are not hated simply because they are Jews, that's irrational. Jews are despised for the most rational reasons possible: people eventually see what Jews stand for, believe in and seek to accomplish. Most critically, people eventually see what the Jews do in order to get their way. That is what gets people to detest Jews.

Martin Luther's treatise, On the Jews and Their Lies, was written in 1543, three years before his death. Luther's life was a struggle against corruption, materialism and hypocrisy - and he wound up despising Jewry with precise reasons as to why and that is no coincidence. It is men of such persistence who make such inevitable observations and it is them that the Jews hate the most. Luther's writing are a silver mirror. So are Hitler's. The Jew fears such things.

Hiding in the Dark
This film is also part of a general theme of "questioning Christianity." Movies repeatedly come out that raise such questions, most notably The Da Vinci Code and its source novel. Now, I do not believe the Christian faith is perfect and neither was Martin Luther, whose aforementioned treatise contains a fair bit of anger and advocates violent force to be used against Jews. I understand his anger, but do not condone nor advocate such courses of action.

What I do advocate is questioning all religious faiths, even picking apart the many absurdities in Judaism, which always seems to get a pass. The Talmud Code, anyone?

Such a project wouldn't get off the ground in the mainstream, Judeo-monopolized sphere, since the only people that can discuss such matters are Jews, whilst hiding in the dark, though, for imagine if someone saw Judaism as intrinsically absurd! We can bet that they would very quickly be labeled as an "anti-Semite." The accusations of heresy that were directed at Luther were pretty much the same; from the same kind of mindset, anyway.

Conclusion
When the full history of Martin Luther is considered we can see that one man's lifelong quest for truth and honor in spirituality leads him despise Jews. In the part of the film where Luther tells a woman that the indulgence she bought is "just paper" can be directly applied to the Fiat money scheme of today - money is literally "just paper." Further investigation will uncover who is really behind such things and a dedicated investigator will likely despise Jews even before he finds out authentic solutions to the problem.

The selling of indulgences was, in fact, a way to get people psychologically and spiritually hooked on a money-swindling scheme. Today's financial news that praises Judaized economics and economists for all their hard work in solving "crises" and other things works much the same way - combining fear and wonder the scheme rakes in loyal followers who will soon not even be aware of anything beyond it.

Note the Aryan definition of "Zion" - a sustainable system of slavery in which internal rebellion is no longer possible. Why is rebellion no longer possible? Likely not due to fear, but due to ignorance. Zion is a "mind-monopoly" where the prisoners can think of nothing other than serving Zion. Thus, even if anything else exists (like the Zionists' elite standings and luxuries) it becomes irrelevant by the system default. The horror is that the only possible setting in this system is "default."

To prevent such a nightmare from becoming reality, the story of Luther shouldn't be the main inspiration, but definitely one of them - a little stone to be inserted into the mosaic that is the Aryan Kampf.

A related essay HERE.

Tunnel Vision over at the Occidental Observer

Avatar, James Cameron's feel-good adventure story is wholly unoriginal on the Storytelling Front, but very imaginative in the visual department. Since it was a such a huge production with the highest budget thus far allotted for a movie project and the biggest box office intake as of this date with some $2.5 billion in Worldwide earnings, it speaks a good deal about what today's audience likes: elaborate sights and sounds with simplistic story arcs.

The BS Gentiles at The Occidental Observer reviewed this film and that was really just a continuation of their fixation on white race preservation as can be read in this review of the blockbuster film. Replace "white" with "Jew" and you'll have a typically racist, rabbi written op-ed.

In the article, Kevin MacDonald writes: 

"So, in a nutshell, Whites from Earth are colonizing another planet whose indigenous wonderful hominids with primitive technology but great butts and neural connections to plants and animals, are in the way of The Company which wants its precious mineral called Unobtainium. (This was the only in joke in the movie I think.) There are a couple of social workers trying to get the natives to move and save Precious Life. They are of course outmaneuvered by the capitalists who want their unobtainium and start to bulldoze the magic forest."

If all MacDonald can observe about this film is that certain white characters are greedy and unpleasant, than he is missing much of point due to his skin-pigmentation fixation. He also misses the satire on Judeo-economics... "unobtanium" is quite the way to put it.

In the film, there are mixed characters on both sides. Good humans aren't all white and neither are the evil humans. Though, the commander of the mercenary unit deployed to protect The Company is white, as is the main representative of the evil corporation, and it is from these two bits that MacDonald's main concern springs: evil white people. Odd that a professor of psychology would evaluate character's based on their skin-color. How about delving into their... *ahem* ....psychology? Meaning, looking at the characters' intentions, goals, means to achieve these things, and the like. From this we can see that the commander and the corporate officer are slimy, arrogant bastards and deserve no sympathy from noble people.

Practically all of the main Zionists in Israel have light skin that could be called "white," so does this mean that MacDonald sympathizes with those war criminals? And does he find any news report that points out Israeli criminality as offensive, since it criticizes "white" people? It would seem so. MacDonald decidedly prefers the shallow end of the pool. His allegiance to his "white" skin is like the Jews' allegiance to the Law of the Rabbis - what's good for (my group's name here) is good in all senses of the word.

More from MacDonald's article:

"So, the Good pseudo-native , like in The Last Samurai, goes native and war is begun with the CapitalistImperialistWhitePigs. Spectacular battle scenes with the Good natives mounted on the backs of flying Teradactyl like birds beating the White Man’s machines. As in Tarzan movies, the animals also come to the aid of the natives, after having sensed that the White Man is a greater danger.

In the battle, the chief Bad Guy is a jarhead (Marines) colonel who wants to kill all the Good Natives. Blue eyes and a very White Marine, he of course, is beaten by bows and arrows and big scary animals (a la Tarzan). As he is about to kill our pseudo-native hero, who has of course betrayed the mission of The Company, the colonel yells, “How does it feel to be a race traitor?” With that, two arrows from the love-interest native female sink into his chest."

MacDonald's race-themed defensive posture is virtually identical the ever-apologetic Jew, who will always find a way to mask or excuse his deeds - from cries of "anti-Semitism" and "blood libel" to the quintessential racist attitude of "We're the Chosen People." The BS Gentiles at TOO simply substitute "White" for "Jew." In their eyes, criticizing whites is "anti-White" or maybe "anti-Occidentalism."

By the time the reader reaches this part of the article, it comes as no surprise that MacDonald chose to end his piece with the most overt racism - a saving the "best" for last sort of thing via the BS Gentile mindset.

"Like Bladerunner’s replicants, the natives are more human than homo sapiens — Whites that is. The few other folks who help the natives are Earthlings — Blacks and browns, who of course, side with the natives. They recognize a brother when they see one."

Oh boy. Quite the absurdity, in addition to the racism.

At no point in the film is it so bluntly said that the Na'vi (the "natives" from Avatar) are "more human" than the humans. What is said, via the story, is that they are less overcome by greed and material desire. This makes them more noble and thus they are the story's good-guys.

"The material interest of mankind can prosper only in the
shade of the heroic virtues. The moment they become the primary considerations of life they wreck the basis of their own existence." ~Adolf Hitler

The human mission on planet Pandora is primarily concerned with material interests, while the Na'vi are heroically defending their homeland. That is why the humans and their corporation loses. However, by the end, a few humans, the noblest stock, joins the Na'vi. They do this to pursue ideals and probably didn't consider "race." In fact, in the film, it is only the bigoted Gentiles that bring up "race" and such terms. They cannot see past the end of their nose.

I do agree with MacDonald that Avatar paints a pessimistic portrait of humans, however, unlike him, I am not at all surprised. Just look at the day's news, mainstream source or not: there's violence, treachery, greed and hate that comes from people of all colors. Oddly, since MacDonald is so Euro-centric, he only sees the media point out evil white men and takes offense to this. That sort of arrogance and ignorance hand-in-hand is very Jewish.

The fact is, all peoples suffer and all peoples are to blame. The state of the World is decayed, decadent and filled with drudgery. The popular films that come out simply reflect this. Complaining about such a film is like complaining to a mirror for showing you a scar on your face - it's not the mirror's fault! You did something that gave you a scar and the complaints won't help heal it.

"Man has become great through perpetual struggle." ~Adolf Hitler

And he can become great again, but this means primarily proactive effort. This means seeing your own faults in addition to those of others, and this is something the Gentiles lack.

Taking a look at this essay is a good start for them to steadily veer away from simplistic bigotry and tunnel vision.

Alternate version of the rebuttal HERE

On Talmudic Methods as Tactics: Occidental Observer

The Boromir Syndrome (BS) is rampant over at The Accidentally Talmudic Observer. They recently published this article in effort to seem sound on the issue of violence. Little do they know, they are using definitions from history's most nefarious book and thus continue to spin in their goy wheel.

On Violence as a tactic
By Kevin MacDonald

A correspondent concerned about the connotations of some of the commentary on this site sent the following:

Some patriots, especially the young, become frustrated and angry and want to take direct action. That is understandable because we are facing a life-and-death threat to our national existence and our political class is demonstrably failing to show leadership; indeed, major elements are leading the attack on the American people. But it is both morally wrong and tactically counterproductive to advocate or practice violence.

SoE: So "taking direct action" and "advocating or practicing violence" are the same thing? If you are a BS Gentile than they sure seem to be! That illusion is part of the Paradigm Prison, which is ZC approved definitions for everything. Going by them will never lead to progress, they are designed to be ineffective.

The mentioning of "patriots" and "threats to our national existence" and other assorted tribalist vocabulary makes the failure of this article all the more plain. Failure when dealing with Zionists that is. Technically, the goal of this article is to present Babel, and in that, it succeeds.

Reasons:

Moral.
The rule of law is critical for the maintenance of civilization. In many ways, it IS civilization. We might not like some of those laws but unless we limit our protest to legal means, we contribute to the slide to barbarity that has done so much harm.

SoE: Again, they are trapped in the Paradigm Prison. The Aryan State (the true remedy for Jewish corruption) does not use the law as a "maintenance of civilization," but rather to progress civilization towards an ideal. Law, by itself, is in no way the actual civilization. By appealing to the corrupt laws that have allowed Zionist crime, how does MacDonald hope to stop it? Maybe next he'll recommend that an organized crime syndicate aide the police in catching a big time mobster, who may or may not be their boss.

Tactical.
Violence or its advocacy would allow our enemies to call down the full power of the state apparatus upon us. Even if we were strong and had a chance to win elections, it would be fatal to become outlaws. Many many Whites would feel compelled to withdraw their support. A movement that had taken decades to build would be dismantled overnight, its assets liquidated, its leaders jailed. And even if violence had a good chance of accelerating victory, going down that path would soil the vision of our New America. We want the freedom we seek to last; we want to set an example to other Western peoples and to other civilizations that will make our liberation permanent by setting it within a compatible international order. We can only do that by appealing to the highest personalities, to the natural aristocracy of other countries. Only then will they gain the moral courage to act in their people’s interests. We can only do that by being demonstrably decent, by being the sort of people they want to be. This is one of the practical implication of being a cultural Christian.

SoE: The bold faced emphasis (added by me) is MacDonald's solution. Close, but no cigar, MacDonald. "Aristocracy" not only has elitist and un-Aryan connotation, but the current ruling classes, to which MacDonald suggests that his readers appeal to in order to find a solution, are the ones most likely to be most corrupted by the current system. MacDonald does not offer radicalism (the Aryanist definition) and seek allies outside of the current establishment, thus the ones most likely to have true Noble motivation.

The only thing that MacDonald gets right is by saying that those who want to enact change should be decent, but he doesn't lay out how they can also be effective and thus this is another TOO dead end.

Programming Language

"Ctrl-Alt-Delete" is Restart, not Revolution.

Observations Around Society

Popular culture is in a pretty low state these days. Western culture has become driven by promise of plenty via little to no effort. Indulgence has become a good thing, as long as a worker doesn't neglect their responsibilities more than the relativist boss allows; this inevitably leads to cutting corners in effort all the while expecting more in return for the work performed. These indulgent desires spill over even more in social life as I have seen during my socially bizarre journey through college. Instead of discussing things like literature, history, politics, our studies or anything mentally stimulating, the point of social activity was inebriation in its highly limited number of forms. By now it has gone so far that most people take these absurdities as normal. It is a dangerous mix of decadence and accepting an overarching fate.

Gizmos are also a big thing today - a small portable phone with a camera and internet access is, by today's standards, simply a "cell phone." Added to the fact that most of these devices even have a multitude of "applications." One of these "apps" (people don't even say whole words these days) was called "The Lightsaber Application" and the whole thing was a simple display of the famous Star Wars prop that made the associated sounds as you move the phone around. Pointless - a goy bisciut - but people go nuts for these things.

My cell phone camera, which has spent a great deal of time being perfectly useless, or one could say "dormant," up until fairly recently when I decided to put it to use by noting several observations around society.

PHOTO 1
This appears to be an ad for the fast food chain McDonald's that tries to tap into the "more is better" craze. The man looks sad that he is only getting a small chocolate dessert with water, instead of a gargantuan portion of culinary chemistry in both solid and liquid form.

On slightly closer inspection you can see that it is actually a satire on McDonald's. Note the smaller print (click image for larger version) that outlines the dangers of consuming fast food, yet it does it within the confines of the ad, which grinds not only against McDonald's, but also against the elusive quality of corporate advertising. It also looks like the text of "possible side effects" that prescription medicine commercials have: while showing happy people the narrator quickly reads off a list of possible side effects and if written out, they may very well be as long that the ones listed here.

PHOTO 2
Next we have a joke about the absurdity of too much free choice or uninformed free choice.

This is part of the whole "Evolution vs. Intelligent Design" debate. The details of said debate are beyond the scope of this essay, but it is worth noting that absurdity is gripping an ever firmer hold on our society. The obsession of "rights" and "free choice" is one such thing as this cartoon demonstrates. Citizens of an Aryan State do not have "certain inalienable rights" as the whole concept of "right" is un-Aryan. Rather, citizens of an Aryan State have certain unassigned, yet always active, duties. Ensuring that the younger generation has plenty of chances to bloom with a solid education is one of them. When that is done with rationalism, the younger generation will have much free choice and, critically, their options will not be as ridiculous as the ones pictured above. The Historic Aryan Farmer lets his crops grow as they please, but first ensures the soil is fertile for them to do so.

PHOTO 3
A humorous take on the Arizona immigration issue. There is an NS joke in there, but I think that only reinforces a truth that most Americans are not aware of (due to corrupt education) or one that they just simply deny.

The power of an astute message is awesome.

PHOTO 4
A political cartoon that shows the nature of Judaic selfishness.

The black splotch over the Goldman-Sachs banksters looks like a simple space-filler for the composition, but to me it looks like a monstrous belch of pollution and it appropriately radiates from Lloyd Blankfein's rotten corpus.

PHOTO 5
This is largely self-explanatory.

It is also largely true. Click to read text in larger version.

PHOTO 6
Very interesting image here. Look carefully.

Some very interesting details here. First off, Adolf Hitler, apparently, wasn't the worst tyrant of them all. The death tally attributed to each of these leaders has drifted to and fro and varied from source to source, but this only points out the quality of the mainstream. I have seen 20 million next to Stalin before. For Mao, this is quite low as I have usually seen him "awarded" with 50 to 70 million. However, the 15 million by Hitler is quite strange. The official "holocaust" narrative comes to a total of 6 million. The total dead during WW2 is commonly said to be 50 million, and Hitler has been blamed for starting the war, so why not just make him the worst of the three leaders here? Probably, because that is so ridiculous that it cannot even make it into the mainstream. Thus, Hitler is left with just 6 million, but then he would look fairly tame next to the others, so the cartoonist just multiplied by... er, 2.5... yeah.

What is also interesting is the shape of each head. Note the roughly pyramid shape, which could possibly refer to the "evil power pyramid" as seen on the back of the US Dollar Bill. Each leader's two eyes would be below the ominous all seeing eye at the pyramid's apex. As they are drawn this "third eye" seems to be in their brains - evil men thinking up evil schemes. Stanley Kubrick would approve of this view and showed many ominously themed pyramid compositions (particularly in A Clockwork Orange) and also equated the NS movement to absolute evil (even in the same movie).

Though, as we have seen, the false images are such cartoons.

NOW BEST FOR LAST

PHOTO 7
There was a large tack board that I passed one day and saw a very interesting detail. The frame of the board was lined with 4 identical strips that has a design of various international flags. Coincidentally (or perhaps not) the German flag and the Israeli flag were next to one another. There was also a tiny and precise bit of vandalism that was quite consistent. The top strip was covered with announcements and photos, thus mostly obscured. However, the other three were very visible. I photographed a detail from each of those. Click image for larger version.

Ownage!

This was in the halls of a New York university and there are many Arabic students enrolled at this school who no doubt have expressed their feelings on a certain illegally occupied territory that is administered by criminals guilty of mass murder and actual blood libel.

Society, there is much in the details.